Ext. Narita Airport - Night

LOST IN TRANSLATION Written by Sofia Coppola Shooting Draft Lost in Translation, Inc. September 2, 2002 FADE IN: EXT. NARITA AIRPORT - NIGHT We hear the sound of a plane landing over black. CUT TO: INT. CHARLOTTE'S ROOM - NIGHT The back of a GIRL in pink underwear, she leans at a big window, looking out over Tokyo. CUT TO: Melodramatic music swells over the Girl's butt in pink sheer underwear as she lies on the bed. TITLE CARDS OVER IMAGE. LOST IN TRANSLATION INT. CAR - NIGHT POV from a car window - the colors and lights of Tokyo neon at night blur by. CUT TO: In the backseat of a Presidential limousine, BOB (late- forties), tired and depressed, leans against a little doily, staring out the window. P.O.V. from car window- We see buildings covered in bright signs, a billboard of Brad Pitt selling jeans, another of Bob in black & white,looking distinguished with a bottle of whiskey in a Suntory ad... more signs, a huge TV with perky Japanese pop stars singing. CUT TO: EXT. PARK HYATT - NIGHT Bob's black Presidential (looks like a 60's diplomat's car) pulls up at the entrance of the Park Hyatt, a modern sky rise. The automatic doors open on the car, as Bob gets out. Eager BELLHOPS with white gloves approach at the sight of the car, welcoming Bob and helping him with his bags. CUT TO: INT. PARK HYATT - NIGHT Bob stands in the back of a crowded elevator surrounded by Japanese businessmen below his shoulders. The elevator stops at the 50th floor and the doors open onto the massive, streamline lobby of the Park Hyatt. Bob follows the JAPANESE BUSINESSMEN out into the marble and glass lobby that frames the view of Tokyo. The CONCIERGE and several eager HOTEL MANAGERS greet Bob. He just wants to sleep, but more STAFF continue to greet him, ask him about his fright. They lead him to reception. INT. HOTEL RECEPTION - NIGHT At the reception area four JAPANESE BUSINESSMEN and two WOMEN quickly sit up from their seats on sight of Bob, and extend handshakes and gifts. They bow and introduce themselves from the commercial company, extend name cards and welcome him enthusiastically. More staff welcomes him and offer their service during his stay. One of them presents a fax that has come for him. INSERT - "TO: BOB HARRIS FROM: LYDIA HARRIS YOU FORGOT ADAM'S BIRTHDAY. I'M SURE HE'LL UNDERSTAND. HAVE A GOOD TRIP, L" He doesn't know what to do with it, and stuffs it in his pocket. The commercial people tell him when they'll be picking him up, and ask if he needs anything else. Some JAPANESE ROCK STARS with shag haircuts and skinny leather pants pass by. Each commercial person has to shake Bob's hand before leaving. CUT TO: INT. BOB'S HOTEL ROOM - NIGHT Bob sits on the end of the bed in a too small hotel kimono. INT. PARK HYATT BAR - NIGHT Bob sits at the bar. A few minutes pass as he sits in silence looking around, drinking a scotch. Chet Baker sings "The Thrill is Gone" over the stereo. We see Bob's POV of tables of people talking. JAPANESE WOMEN SMOKING, AMERICAN BUSINESSMEN tying one on, talking about software sales. A WAITER carefully setting down a coaster, and pouring a beer very, very slowly. It's all very foreign. CUT TO: INT. BOB'S HOTEL ROOM - MORNING The automatic hotel curtains open, pouring light into the room. CUT TO: INT.HOTEL BATHROOM - DAY Bob gets in the shower overlooking the view of Tokyo. The shower head is at his elbows, he raises it as high as it goes, and leans down to have a shower. This hotel was not designed with him in mind. CUT TO: INT. STUDIO - DAY Whiskey commercial shoot. The set is full of activity as the JAPANESE CREW work. Bob, in a shawl collared tuxedo sits at a European style bar set with a cut crystal glass of whiskey. A JAPANESE GIRL quickly powders his face as they adjust lights and the DIRECTOR and crew speak in hurried Japanese. The Director (with blue contact lenses) says a few long sentences in Japanese. TRANSLATOR, a middle-aged woman in a coordinated outfit, translates but it is only a short sentence now. TRANSLATOR He wants you to turn, look in camera and say the lines. Bob wonders what she's leaving out, or if that's the way it works from Japanese to English. BOB That's all he said? TRANSLATOR Yes, turn to camera. Bob thinks let's just get it over with. BOB Turn left or right? The Translator blots her face with a tissue, and asks the director in a Japanese sentence 5 times as long. The Director answers her in a long excited phrase. TRANSLATOR Right side. And with intensity. BOB Is that everything? It seemed like he was saying a lot more. The excited Director says more in Japanese. Translator nods in understanding. Bob doesn't really know what's going on. TRANSLATOR Like an old friend, and into the camera. DIRECTOR (to Bob)) Suntory Time! They get ready, and roll camera: Bob turns and looks suavely to the camera: BOB For relaxing times, make it Suntory Time. The Director yells something about ten sentences long. The translator nods. TRANSLATOR Could you do it slower, and with more intensity? BOB Okay. The Translator answers for him in four sentences. ON THE MONITOR - we see the next take: the moody lighting shines on Bob, the camera gets closer as he stares into camera and gives them the line. BOB For relaxing times, make it Suntory Time. CUT TO: EXT. TOKYO - NIGHT Shinjuku High rises sparkle. INT. PARK HYATT BAR - NIGHT Tall glass walls show the neon and high-rises of the city. A sad and romantic Bill Evans song plays. Bob sits alone with a scotch at the bar. Some drunk AMERICAN BUSINESSMEN, with their ties thrown over their shoulders recognize him. BUSINESS GUY Hey- you're Bob Harris- you're awesome, man. ANOTHER BUSINESS GUY Yeah, I love Sunset Odds! BOB Oh, Ok, thanks. BUSINESS GUY Man, that car chase- Bob nods. INT. BOB'S HOTEL ROOM - NIGHT Bob comes back to his room. The maids have left everything perfect, his beige bed is turned down, and the TV has been left on to a channel playing a montage of flower close- ups in nature while sad violin music plays. It's supposed to be relaxing, but it's just sad. CUT TO: Bob lies in bed. He flips through TV channels from the remote control. He passes a Japanese game show, to an 80s Cannon Ball run-type movie with him in it dubbed into Japanese. He turns it off as he hears a knock at the door. He goes to the door, and opens it part way. WOMAN (O.C.) (Raspy Japanese voice) Mr. Harris? BOB Yes? WOMAN Mr. Kazuzo sent me. BOB Oh? WOMAN Can I enter? He pauses, then opens the door. A WOMAN in her forties in a short tight leather mini skirt and stockings comes in. She is wearing '60s style make- up. Bob sits on the bed not sure what to do as he watches her. Bob's POV - We see her back to us as she puts a CD on the stereo - it begins to play: Serge Gainsberg and Brigitte Bardot sing "Bonnie & Clyde". The woman turns slyly around and shimmies over to Bob. WOMAN (as she tries to undress him) Mr. Harris? BOB Yes? WOMAN Do you like massage? BOB I don't think so. WOMAN Mr. Kazuzo send Premium Fantasy. She pushes him back onto the bed. He hesitates, but then goes along with it passively. WOMAN My stockings. BOB Yes? WOMAN Take them. He fumbles with her stockings, trying to do as she says. WOMAN No - Lip them... Don't touch me! He takes his hands back confused. WOMAN Lip my stockings! He backs away, as he tries to understand her. WOMAN Lip them! She throws her leg up to him on the bed. BOB Huh? She pantomimes ripping them. He finally understands. BOB Oh, you want me to rip them? He pulls at her stockings trying to rip them, but they just snap. She pretends to struggle. WOMAN Please let me go! He pulls his hands away. She grabs them and puts them back on her, and keeps struggling dramatically. They wrestle around awkwardly, her pretending to try to get away, but not letting him go. She rips her stockings and falls off the bed in fake- defense. WOMAN Let me go! She pulls a confused Bob down on top of her. He doesn't know what she wants. She rips another stocking and pins him on the ground. He tries to crawl away, she grabs his leg and trips him. He grabs a nearby table leg as he falls, the lamp crashes to the floor, the room goes black. BOB I think you should leave. CUT TO: INT. HOTEL RESTAURANT - DAY In the harsh sunlight of the big windows Bob eats breakfast alone. Next to him is a table of TEXANS in cowboy hats. At another table a JAPANESE COUPLE in sunglasses chain smoke and drink coffee. CUT TO: INT. HOTEL ELEVATOR - DAY Bob gets into the ded elevator. He is stopped momentarily by the Concierge who asks him if everything is fine for his stay. In the elevator Bob's surrounded by JAPANESE BUSINESSPEOPLE and a FAMILY dressed for a wedding.

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